Since the passing of No Child Left Behind Act in 2001, the United States' secondary education system has undergone significant changes. In this study, I discuss the ways in which the law has encouraged the normalization of standardized testing and aim to answer two primary research questions. RQ1: What do college students and their instructors identify as the key challenges that arise as students educated under NCLB begin college coursework, and how does each group address these challenges? RQ2: What strategies do the actors and spect-actors in a Forum Theatre production arrive at for addressing the challenges faced by college instructors and their students who have completed their secondary education under No Child Left Behind? To answer the initial research question, I conducted focus group interviews with instructors and students at the University of North Texas to understand the challenges each faces in the classroom. To answer the second research question, I compiled narratives from the focus group interviews along with other materials into a performance script that concluded with scenarios based in Augusto Boal's Forum Theatre techniques. In live performance events audience members rehearsed strategies for addressing the challenges that instructors and students face in classrooms through performance. Following …

The environmental problems associated with the boom in hydraulic fracturing or "fracking," such as anthropogenic earthquakes and groundwater contamination, have motivated some citizens living in affected areas such as Denton, Texas to form movements with the goal of imposing greater regulation on the industry. As responses to an environmental threat that is localized and yet mobile, these anti-fracking movements must construct rhetorical appeals with complicated relationships to place. In this thesis, I examine the anti-fracking movement in Denton, Texas in a series of three rhetorical analyses. In the first, I compared fracking bans used by Frack Free Denton and State College, Pennsylvania to distinguish the argumentative claims that are dependent on the politics of place, and affect strategies localities must use in resisting natural gas extraction. In the second, I compare campaign strategies that use local identity as a way of invoking legitimacy, which reinforces narrative frameworks of environmental risk. In the third, I conduct and analyze interviews with anti-fracking leaders who described the narrative of their movement, which highlighted tensions in the rhetorical construction of a movement as local. Altogether, this thesis traces the rhetorical conception of place across the rhetoric of the anti-fracking movement in Denton, Texas, while …

“From Brecht to Butler: An Analysis of Dirty Grrrls” is a production centered thesis focusing on the image of the mudflap girl. The study examines the graduate production Dirty Grrrls as a form of praxis intersecting the mudflap girl, the theory of gender performativity, and Brechtian methodology. As a common yet unexplored symbol of hypersexual visual culture in U.S. American society, the mudflap girl acts as a relevant subject matter for both the performance and written portion of the study. Through the production, mudflap girl materializes at the meeting point of the terms performance and performativity. The written portion of this project examines this intersection and discusses the productive cultural work accomplished on the page and on the stage via live embodiment of performativity.

This study examines the ways that videogames and live performance are informed by play theory. Utilizing performance studies methodologies, specifically personal narrative and autoperformance, the project explores the embodied ways that gamers know and understand videogames. A staged performance, “Shall We Play a Game?,” was crafted using Brechtian theatre techniques and Conquergood’s three A’s of performance, and served as the basis for the examination. This project seeks to dispel popular misconceptions about videogames and performance and to expand understanding about videogaming as an embodied performative practice and a way of knowing that has practical implications for everyday life.

This project examines the effects of the homeless body and the threat of homelessness on constructing a national imaginary that relies on the trope of locatability for recognition as a citizen-subject. The thesis argues that homelessness, the oft-figured specter of public space, functions as bodies that are “pushed out” as citizen-subjects due to their inability maintain both discursive and material location. I argue that figures of “home” rely on the ever-present threat of dislocation to maintain a privileged position as the location of the consuming citizen-subject. That is, the presence of the dislocated homeless body haunts the discursive and material construction of home and its inhabitants. Homeless then becomes the uncanny inverse of home, functioning as an abjection that reifies home “place” as an arbiter of recognition in a neoliberal national imaginary. The chapters proceed to examine what some consider homeless “homes,” focusing on the reduction of the homeless condition to a place of inhabitance, or the lack thereof. This attempt to locate the homeless body becomes a symptom of the desire for recognition as a placed body. The thesis ends on a note of political possibility, figuring the uncanny as a rupture that evacuates language of signification and opens …

This study provides an examination and application of heterotopic dérive, a concept that combines spatial theories originated by Foucault and psychogeographical methods advocated by the Situationists, as enacted within theatrical performance spaces. The first chapter reviews theories related to space, place, and heterotopias, as well as the psychogeographical methods of the Situationists, particularly the dérive. The literature review is augmented with accounts of my experiences of serendipitous heterotopic dérive over a period of several years as a cast member in, or a technical director for, theatrical productions in the Department of Communication Studies Black Box Theatre. Based on the review, I postulate that heterotopic dérive is a potentially valuable phenomenon that performance studies scholar/artists can utilize consciously in the rehearsal process for mounting theatrical performances. To test this proposition, I worked collaboratively with a theatrical cast to craft a devised performance, Desire Lines, with a conscious effort to engender heterotopic dérive in the process of creating the performance. This performance served as the basis for the second chapter of the study, which analyzes and discusses of the results of that investigation. This project enhances understanding of the significance of the places and spaces in which performers practice their craft, and …